DOCSLIB.ORG

5 MB HSFCA Annual Report for FY 2003-2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
5 MB HSFCA Annual Report for FY 2003-2004 HAWAI‘I STATE FOUNDATION ON CULTURE AND THE ARTS Annual Report Fiscal Year 2003-2004 The Hawai‘i State Foundation on Culture and the Arts mission is to promote, perpetuate, preserve and encourage culture and the arts, history and the humanities as central to the quality of life of the people of Hawai‘i. The Hawai‘i State Foundation on Culture and the Arts (HSFCA) was founded in 1965 as the official arts agency of the State of Hawai‘i. The HSFCA stimulates, guides, and promotes culture, the arts, history, and the humanities throughout the state. The HSFCA office is on the second floor of the historic No. 1 Capitol District Building at 250 South Hotel Street in downtown Honolulu, just Ewa of the Capitol Building. This building is also the home of the Hawai‘i State Art Museum which opened on November 1, 2002. The HSFCA, through its programs, offers biennium grants to support funding for projects that preserve and further culture, the arts, history, and the humanities; administers a public visual arts program for state public places; conducts an apprenticeship program to perpetuate folk traditions; grants fellowships to encourage artists; collaborates with organizations and educational institutions on arts in education projects; conducts workshops; and provides staff resource assistance. The HSFCA Commission is composed of nine members, each appointed by the Governor of Hawai‘i for a four-year term according to Section 9-2 (b), Hawai‘i Revised Statutes. From these members, who serve without compensation, the Governor appoints a chairperson. The HSFCA is a part of the Executive Branch of the State of Hawai‘i and is attached to the Department of Accounting and General Services for administrative purposes. The statutory provisions for the HSFCA and its biennium grants program are set by Chapter 9, Hawai‘i Revised Statutes. Funding for the HSFCA and its programs is provided by appropriations from the Legislature of the State of Hawai‘i, through general operating and special funds; grants from the National Endowment for the Arts (NEA); and private contributions for specific designations. The enabling legislation for the Art in Public Places Program, founded in 1967, is in Section 103-8.5, Hawai‘i Revised Statutes. For information on the HSFCA, grants, programs, Hawai‘i‘s arts and cultural events, and worldwide arts opportunities, visit our website, www.hawaii.gov/ sfca. This annual report may be found on our website in PDF format with beautiful color photographs by clicking on the “Publications and Documents” button. Pursuant to Chapter 9-3 (8), HRS, the Hawai‘i State Foundation on Culture and the Arts respectfully submits this annual report about its programs and services to the Governor, the State Legislature, and to the general public for Fiscal Year 2003-2004. HAWAI‘I STATE FOUNDATION ON CULTURE AND THE ARTS Annual Report Fiscal Year 2003-2004 Governor’s Message ______________________________ 2 Chairperson’s Message ____________________________ 3 Executive Director’s Message ______________________ 4 HSFCA Commission ______________________________ 5 HSFCA Strategic Plan______________________________ 6 HSFCA Committees ______________________________ 7 Biennium Grants Program ________________________ 10 The Year in Review______________________________ 15 Art in Public Places Program ______________________ 21 National Endowment for the Arts Grants to Hawai‘i __ 28 Financial Summary ______________________________ 30 HSFCA Staff ____________________________________ 32 Front Cover: Aunty Genoa Keawe performed as part of the Hawaiian Music Series of the Hawai‘i Theatre Center. She was awarded a National Heritage Fellowship as a Native Hawaiian singer and ukulele player by the National Endowment for the Arts in 2000. Back Cover: Zenshin Daiko’s 5th Annual Taiko Festival was the debut of the largest hiradaiko in the state and one of the largest in the USA. The hiradaiko was built by Zenshin Daiko. GOVERNOR’S MESSAGE or over 38 years, the arts have As we work to improve Hawai‘i’s flourished thanks to the ded- business environment, we realize F icated efforts of the Staff and that the arts play an important Commissioners of the Hawai‘i State role as a strong economic driver. We Foundation on Culture and the Arts are developing cultural tourism (HSFCA). During this time, they have through collaborative efforts, such endeavored to accomplish the man- as the Hawai‘i Capital Cultural date set forth in the foundation’s District. This innovative group is com- mission statement – To promote, prised of many representatives preserve and encourage culture and from state and local governments, the arts, history and the humanities businesses, and arts organizations as central to the quality of life of the who are working together to fos- people of Hawai‘i. ter a dynamic arts center for our state. The HSFCA has many programs In this same spirit, we are work- that offer grants, programming, and ing to fuse the arts and business services in the arts. The foundation also manages the through efforts of the Arts, Film and Entertainment Division Hawai‘i State Art Museum, which displays works from the and the Arts and Culture Development Branch of the State Art Collection. I encourage everyone to experience Department of Business, Economic Development and the museum, including the permanent exhibition – Enriched Tourism. Likewise, my tourism liaison Marsha Wienert is by Diversity: The Art of Hawai‘i. working to strengthen the visitor industry by expanding We are blessed to live in a unique island home offer- the role of cultural tourism. ing a wealth of natural beauty reflected in the many art We are proud that Hawai‘i continues to lead the nation forms throughout our state. Our children benefit by learn- in per capita support of the arts. Residents and visitors alike ing from teachers who incorporate art into their lessons can enjoy a variety of arts in many forms – visual, performing, to enrich learning experiences, who convey the beauty of musical, literary, media, and general arts. I encourage art, and who develop the creative talents of students. you to support them in your communities. A large number of studies have shown that children In closing, I offer my heartfelt appreciation and aloha who develop skills in the arts also show gains in other aca- to the Staff and Commissioners of the Hawai‘i State demic subjects. As we know, there are many intangible Foundation on Culture and the Arts. I wish them much suc- benefits of art that are sometimes hard to quantify, such cess in the years to come. as higher motivation, renewed enthusiasm, and overall enrichment in the quality of life. Linda Lingle Governor 2 CHAIRPERSON’S MESSAGE he Hawai‘i State Foundation Here in Hawai‘i, we focused to on Culture and the Arts worked increase access to the arts and its Tdiligently to preserve and benefits for all of our communities. We enhance the arts throughout our state held three of our monthly Commission by using our new Strategic Plan as a meetings on neighbor islands to blueprint to guide our efforts and meet representatives of arts, educa- programs. We administered 122 grants tion, and cultural organizations in to local organizations that provide a Kona, Hilo, and Moloka‘i during this diverse range of programming essen- fiscal year. tial to our communities. The Hawai‘i State Art Museum is This year we spent time in Wash- in the heart of the newly formed ington, DC to raise national awareness Hawai‘i Capital Cultural District and of our unique multi-cultural land- has already become a destination scape and our well developed con- during its first year of operation. temporary and traditional arts in People from our schools and com- Hawai‘i. We were fortunate Hawai‘i’s representation was munities and visitors from around the world have visited equally desired, as our state’s arts agency has a place on the museum to see the art of Hawai‘i. the Board of the National Assembly of State Arts Agencies. The Hawai‘i Capital Cultural District’s formation includ- I am honored to represent Hawai‘i for this three-year ed joint proclamations by Governor Linda Lingle and Mayor term. NASAA’s focus is on building relationships with oth- Jeremy Harris, as well a concurrent resolution by the er state art agencies, learning from their successes and chal- Legislature to show uniform support and importance of lenges, as well as telling our own story by being a part of Hawai‘i’s cultural and historical treasures. the national dialogue. Ron Yamakawa and several program I would like to thank every citizen who supports the managers attended the NASAA Conferences, along with me. arts in Hawai‘i and who is dedicated throughout the year During our visits to Washington, DC, we met inde- to develop ways to strengthen our cultural and artistic base pendently with our four Congressional delegates to update and policies. them on our efforts, hear their ideas, and thank them for Mahalo to the Hawai‘i State Foundation on Culture their support. We welcomed and met with Dana Gioia, and the Arts Staff and Commissioners, Governor Lingle and Chairman of the National Endowment for the Arts in his first her Administration, the Department of Accounting and week on the job. We shared information with many lead- General Services, Congressional Delegates, Legislators, ers from the Department of Education, the National State Agencies, City and County Government Officials, and Endowment for the Humanities, the National Park Service, Dana Gioia, Chairman of National Endowment for the Arts the National Trust for Historic Preservation, the National for their invaluable contributions. Museum of the American Indian, and other Federal Agencies. It is the passion and perseverance to sustain our mis- Celebrating the opening of the National Museum of the sion that makes public service a personal reward and American Indian on the Capitol Mall was one of the high- we hope a difference in the lives of our children and lights of the year, forever ingrained in my heart and mind.
Load more

Recommended publications
  • 09 1Bkrv.Donaghy.Pdf
    book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona.
    [Show full text]
  • Pacific Islands Program
    / '", ... it PACIFIC ISLANDS PROGRAM ! University of Hawaii j Miscellaneous Work Papers 1974:1 . BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Second Printing, 1979 Photocopy, Summer 1986 ,i ~ Foreword Each year the Pacific Islands Program plans to duplicate inexpensively a few work papers whose contents appear to justify a wider distribution than that of classroom contact or intra-University circulation. For the most part, they will consist of student papers submitted in academic courses and which, in their respective ways, represent a contribution to existing knowledge of the Pacific. Their subjects will be as varied as is the multi-disciplinary interests of the Program and the wealth of cooperation received from the many Pacific-interested members of the University faculty and the cooperating com­ munity. Pacific Islands Program Room 5, George Hall Annex 8 University of Hawaii • PRELIMINARY / BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Compiled by Nancy Jane Morris Verna H. F. Young Kehau Kahapea Velda Yamanaka , . • Revised 1974 Second Printing, 1979 PREFACE The Hawaiian Collection of the University of Hawaii Library is perhaps the world's largest, numbering more than 50,000 volumes. As students of the Hawaiian language, we have a particular interest in the Hawaiian language texts in the Collection. Up to now, however, there has been no single master list or file through which to gain access to all the Hawaiian language materials. This is an attempt to provide such list. We culled the bibliographical information from the Hawaiian Collection Catalog and the Library she1flists. We attempted to gather together all available materials in the Hawaiian language, on all subjects, whether imprinted on paper or microfilm, on tape or phonodisc.
    [Show full text]
  • Puana 'Ia Me Ka 'Oko'a: a Comparative Analysis of Hawaiian
    Vol. 5 (2011), pp. 107-133 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4494 Puana ‘Ia me ka ‘Oko‘a: A Comparative Analysis of Hawaiian Language Pronunciation as Spoken and Sung Joseph Keola Donaghy University of Hawai‘i at Hilo and University of Otago, New Zealand In this paper I argue that the differences between spoken Hawaiian and vocal perfor- mance of western-influenced “traditional” Hawaiian music are representative of the linguistic diversity found within the Hawaiian language. It contains a comparative analysis of Hawaiian Language Pronunciation as Spoken and Sung, using transcriptions of recorded examples by John Kameaaloha Almeida, a native speaker of the Hawaiian language and a prominent composer, singer, and instrumentalist. It will provide a pho- nemic analysis of notable and predictable variations heard in Hawaiian language vocal performances that are not heard in spoken Hawaiian. Further, it will show that rhythmic arrangement of morae over strong beats in the musical measure is largely analogous to accent in spoken Hawaiian, with some predictable exceptions. The paper also documents how, during his vocal performance, Almeida added three non-lexical vocables not heard in spoken Hawaiian. I argue that these characteristics and variation are indicative of the linguistic diversity found within the Hawaiian language and, as such, are worthy of the same attention and scholarly scrutiny as spoken Hawaiian. The second goal of this applied research is to present the results in a manner that is accessible to practitioners of Hawaiian language performance. 1. INTRODUCTION.1 One day during my time as an undergraduate student in the Hawaiian Studies program at the University of Hawai‘i at Hilo, I was listening to a record- ing of Rev.
    [Show full text]
  • Waikiki Wiki-Wiki Wire
    Volume VII, No. 18 Waikiki Improvement Association May 4, 2006 — May 11, 2006 Waikiki Wiki-Wiki Wire Waikiki by Moonlight — Vintage Meets Vogue In the summer of 2005 the Waikiki Improvement hula of Ka Leo O Laka I Ka Association began a journey. WIA sought a way to Hikina O Ka La , led by Kumu present Waikiki to both visitors and residents in all Hula Kaleo Trinidad. her glory, an event that would portray the Following that tribute to the uniqueness of the host culture as well as the beauty ancient foundations of and history of this unique place. Through the Hawaiian culture, the generous contributions of key members and the audience will be treated to tireless efforts of their staff, as well as WIA’s friends the classic styling of the one and associates, that journey ends on Friday, May and only Aunty Genoa 12th, with the arrival of Waikiki’s new signature Keawe & Kupuna Halau. event, Waikiki by Moonlight — Vintage Meets From there we take a break Vogue! from music and dance to view the Vintage Meets Under the nearly full moon of a tropical night, Henry Kapono Kalakaua Avenue near the Duke Kahanamoku Vogue Fashion Show statue will become a place of music, dance, cuisine presented by Hilo Hattie. and fashion. Gifted entertainers, top-flight chefs, Thereafter, the live music picks up again as Jeff and contemporary fashion Apaka pays tribute to the great star of the 40’s, leaders will all use there Alfred Apaka. Henry Kapono brings us up through immense talents to pay that heyday of the baby boomer generation, the tribute to the bygone eras of 70’s.
    [Show full text]
  • Read Liner Notes Here
    LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them.
    [Show full text]
  • Hawaii Stories of Change Kokua Hawaii Oral History Project
    Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga ..............................................
    [Show full text]
  • Waikiki Hula Conference
    Volume VIII, No. 47 Waikīkī Improvement Association Nov 22, 2007 — Nov 29, 2007 Waikīkī Wiki Wiki Wire Inaugural International Waikīkī Hula Conference a success! The Inaugural International Waikīkī Hula songwriting, philosophy and implement-making. Conference concluded at the Hawaii Convention Nine ho'ike (recital) hula shows were presented Center this past weekend, November 15~17. The around Waikīkī at sponsor hotels and shopping theme of the conference was "Hula in the land of its centers. birth." Approximately 550 hula practitioners and Opening ceremonies on the first day began aficionados attended the conference. Approximately auspiciously with a blessing by master chanter 330 traveled from Japan. The remainder were from Kaupena Wong, and included a welcome by Mayor Hawaii (including neighbor islands), mainland U.S., Hannemann, Waikīkī Improvement Association's Polynesia, Europe, and S. America. Eric Masutomi and Rick Egged, hula by Nalani Over three days, 35 kumu hula and teachers Keale and Hālau Kaulakahi Hawaii, and concluded presented a total of 80 workshops on hula and with a musical tribute to King David Kalakaua and hula-related topics, including Hawaiian language, his composer siblings — Na Lani Eha — by Kuuipo Kumukahi and the Hawaiian Music Hall of Fame Serenaders. Maile Loo of the Hula Preservation Society ( www.hulapreservation.org) presented four special events in the lecture section, which featured noted elders Nona Beamer, Joan Lindsey, George Naope, Queenie Ventura Dowsett, Kent Ghirard and the Hula Nani Girls, as well as Tip Davis' film on 'Iolani Luahine. The final night featured a concert celebration by the sea, under the stars, at the Kuhio Beach Hula Mound.
    [Show full text]
  • Mormon Influences on the Waikiki Entertainment Scene
    Mormon Influences on the Waikīkī Entertainment Scene by Ishmael W. Stagner, II Before we can discuss the influence of Mormon Hawaiians on the Waikīkī music scene, we need to understand a few things about the development of Hawaiian music and its relationship to things developing in Waikīkī. It is normally thought that the apex of Hawaiian entertaining is being able to entertain on a steady basis in a Waikīkī showroom, or venue. However, this has not always been the case, especially as this relates to the Waikīkī experience. In fact, we need to go back only to the post World War II period to see that entertaining in Waikīkī, especially on a steady basis, was both rare and limited to a very few selected entertainers, most of whom, surprisingly, were not Hawaiian. There were a number of reasons for this, but the main reason for the scarcity of Hawaiian, or Polynesian entertainers in Waikīkī in any great number, goes back to the history of Waikīkī itself. At the turn of the 20th century, Waikīkī was still mostly a swamp, filled with taro patches, rice paddies and fish ponds. We have only to look at the pictures of Ray Jerome Baker, the great photographer of early 20th century Honolulu, to see that Waikīkī was, first and foremost, a bread basket area whose lowlands were the delta areas for the run-off waters of Mānoa, Pauoa, and Pālolo streams. As such, Waikīkī fed much of what we call East Oahu, and rivaled the food production and water-storage capacities of better-known farming areas such as Kāne‘ohe, Kahalu‘u and Waiāhole.
    [Show full text]
  • 49 an VALCO VE TIO Hilton Kauai Beach Resort Ukolii, Kauai October
    49th AN VAL CO VE TIO Hilton Kauai Beach Resort ukolii, Kauai October 19-26, 2008 Ho'Omana'O I Ka Wai Hala He Kumu No Ka Wa E Hiki Mai Ana Honoring Our Past Is The Foundation For The Future Leimomi Kha n, Presid ent Association of Hawaiian Civic lubs ( H ) AH onventlon omm ittee hair: Lorna Akirna Ho ting ou ncil: Kuuai, President Lionel Kaohi onventlon oordlnator: Alice Brow n Important: Due to inaudible recordings, these sessions are not verbatim as is normally prepared. Mahalo. TABLE OF CONTENTS EXECUTIVE SUMMARy .. i-xv OPENING CEREMONIES .. 1-2 CALL TO ORDER .. 1,16,25,31 Halia Aloha . 3-5 Kukui Lama Ku . 6 Registration & Credentials Reports .. 6-7,18,31 Presentation ofCharters . 7 Resolutions Committee . 7-14 Awards Connnittee .. 14-15 President's Report . 17 Kauai Council. , . 16-17 Hawai'i Council. 17 Maui Conncil .. 17 O'ahu Council . 17 Mainland Council . 17 Minutes ofthe 2007 Convention Proceedings .. 17-18 Pu'uku Report (Treasurer) . 18 GUEST SPEAKERS: • Mayor William Asing .. 3 • Micah Kane . 3 • Clyde Namuo . 16 • Greg Chun . 25 ADMINISTRATIVE COMMITTEE REPORTS: • Komike Nominations and Elections . 18-19,23-24,36 • Komike Pilina Kaiaulu (Connnunity Relations) .. 19-22 • Komike Ho'onoho Halawai (Conv & Mtgs) . 7,22 o 'AhaMele&PihaHau'oli " . 25,34-35 o Awards . 14 • Kfimike Mo'ohelu Kala (Budget & Finance) , .. 22-23 • Kcmike Pilina Aupuni (Government Relations) .. 23 • Komike Ho'okele (Policy & Planning).. '" ,. 23 • Komike 'Enehana (Information Technology) . 23 PROGRAM COMMITTEE REPORTS: • Komike Ho'oilina Ali'i (Benefits & Trusts) ,, . 26-27 • Komike Po'aiapuni Waiwai (Economic Dev) .
    [Show full text]
  • 1 Statement of William G. Meyer III Before the House Committee On
    Statement of William G. Meyer III before the House Committee on Judiciary and Hawaiian Affairs in strong support of SB 714 (Relating to Publicity Rights) Hearing: Tuesday, March 30, 2021, at 2:00pm Dear Chair Nakashima, Vice Chair Matayoshi, and Members of the House Committee on Judiciary and Hawaiian Affairs: My name is William G. Meyer III, and I hereby express my strong support of SB 714. I have been practicing business law in Honolulu since 1979 with a focus on entertainment and intellectual property law. Over the years I have had the honor and opportunity to represent and assist many noted local artists, entertainers, and public figures and the heirs of such persons. Background – The Hawaii Publicity Rights Act (“HPRA”) In 2009, HPRA recognized the existence of a property right, known as the “right of publicity,” in a person's "persona" (i.e., their name, voice, signature, and likeness). The law was originally enacted to address concerns that the personas of Hawaii’s musicians, entertainers, and cultural icons, both living and dead, were being appropriated by third parties for commercial gain without the permission of such persons or their heirs. The genesis of HPRA was a dispute between a record label and the estate of the iconic Hawaiian artist "Aunty" Genoa Keawe over the use of (the then-deceased) Aunty Genoa’s persona despite the objections of her son, Mr. Eric Keawe. As a result of this dispute, and recognizing that other local artists and their heirs were subject to misappropriation of identity, the estate of Genoa Keawe and the Office of Hawaiian Affairs (“OHA”) pushed for the passage of HPRA to protect the personas of all people, both living and dead, for a period of 70 years after their death.
    [Show full text]
  • Al Oh a D Re Am
    AAlloohhaa DDrreeaamm March 2008 Vol. 6. Issue 1. Contents 1. “Splendor Anahola ” 2. Contents Page 3. Welcome. The Editor’s usual Jiggery Pokery 4. The Kanui mystery resolved by Les Cook 5. “ “ “ “ “ 6. “ “ “ / Pete Lake New C.D. 7. News from Hawaii, the sad loss of “Genoa Keawe” 8. The 7th Birthday Convention 9. “ “ ““ 10. Felix Mendelssohn's "Trade Winds" By John Marsden 11. “ “ “ “ ““ 12. “ “ “ / Doreena ‘Tahni’ Sugondo 13. Basil’s Steelin’ Tricks of the Trade (The Bear Facts) 14. My Tane tab. 15. “ “ “ 16. Islands of Hawaii by Pat Henriques 17. “ “ “ 18. “ “ “ 19. The Steel Guitar in Early Country Music by Anthony Lis 20. “ “ “ “ “ “ “ “ 21. “ “ “ “ “ “ “ “ 22. “ “ “ “ “ “ “ “ 23. Readers Letters 24. “ “ 25. Readers Letters / Ron Whitaker’s new C.D. 26. Chanos-Curzon Drôme, International Steel Guitar Festival 27. “ “ “ “ “ “ “ 28. Pat’s Landmark 65th Birthday Party !! All ads and enquires to :- Editorial and design:- Pat and Basil Henriques Honorary members Pat Henrick Subscriptions:- Pat Jones (Wales.) Morgan & Thorne U.K. £16:00 per year 286. Lichfield Road Keith Grant (Japan) Europe €25:00 Four Oaks Alan Brookes (USA) Overseas $35:00 Sutton Coldfield ----------------------------- (U.S. dollars or equivalent) Birmingham B74 2UG Hawaiian Musicologist All include P+P (S+H) West Midlands. John Marsden (U.K.) Phone No:- 0182 770 4110. Payment by UK cheque, cash or E Mail - [email protected] money order payable to:- “Pat Henrick” web page www.waikiki-islanders.com Published in the U.K. by Waikiki Islanders Aloha Dream Magazine Copyright 2008 2 AlohaAloha t o y o u a l l Welcome back and thank you for joining us for another year, also a big thank you once again to John Gregory for his kind donation.
    [Show full text]
  • Auntie Genoa Keawe Aloha to Aloha Grill Mp3, Flac, Wma
    Auntie Genoa Keawe Aloha To Aloha Grill mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Aloha To Aloha Grill Country: US Style: Pacific MP3 version RAR size: 1816 mb FLAC version RAR size: 1608 mb WMA version RAR size: 1544 mb Rating: 4.7 Votes: 297 Other Formats: RA DXD AIFF AAC APE MMF AC3 Tracklist Hide Credits Maunaloa A1 –Genoa Keawe And Trio* Written-By – Helen Parker E Kuu Morning Dew A2 –Sam Aiko Written-By – Eddie Kamae, Larry Kimura* Hula Lolo A3 –Leilani*, Aggie*, Violet* Written-By – Augie Auld Chickadee A4 –Violet P. Lilikoi* Written-By – Melvin Paoa A5 –Genoa Keawe And Gary* E Maliu Mai Piha Hauoli A6 –Violet P. Lilikoi*, Genoa* & Pua Rogers Written-By – Halemanu Hawaiian Lullaby B1 –Pua Rogers Written-By – Hector Venegas, Peter Moon Hoonanea B2 –Genoa Keawe Written-By – Lena Machado Canadian Girl B3 –Sam Aiko Written-By – Al Nobriga Alika B4 –Genoa*, Pau* , & Violet* Written-By – Charles Kaapa –Genoa Keawe And Her Hawaiians With Friends Of Hawaii Aloha B5 Aloha Grill Written By – Lorenzo Lyons Companies, etc. Recorded By – Soundcraft Inc., Honolulu, Hawaii Credits Co-producer – Bob Nelson Design – Douglas Rankin Engineer – Brian Lester , Willy Martin Engineer [Assistant] – Billie Ann Sabala Liner Notes – Billie Ann Sabala Mastered By – Brian Lester , Willy Martin Mixed By – Brian Lester , Willy Martin Producer – Genoa Keawe Other versions Category Artist Title (Format) Label Category Country Year Auntie Genoa Aloha To Aloha Grill Genoa Keawe GKCD 108 GKCD 108 US Unknown Keawe* (CD, Album, RE) Records Related Music albums to Aloha To Aloha Grill by Auntie Genoa Keawe John K.
    [Show full text]